Talk about a CD with postponed release date, almost competing
with Guns 'N Roses "Chinese Democracy"! The big difference
is however that this one was really worth waiting for! When I did a
gear-interview with John, at the time the new Europe album was released,
he revealed his new solo album would be of the "bluesier kind".
His last solo album "Optimus" was more in the same vein as
Europe's reunion-platter with detuned riffs and a more modern approach,
an album that didn't fully hit home with me.

Ok, John, all is now forgiven; "Play Yard Blues"
is the album we (at least I) have been longing for. Here he shows his
love for the seventies, both in his own songs and in his interpretations
of Frank Marino's "Ditch Queen", Mountain's "Travellin'
In The Dark" and Thin Lizzy's outstanding "It's Only Money".
If we start with the cover songs, he hasn't strayed away too much from
the original versions.

For example in "Ditch Queen" he sounds very
much like Frank both in his vocals approach and in his lead guitar playing.
The influences really shine through. The opening track of the album,
"Let It Shine", also could have been penned by said Marino
with its heavy and slightly funky verse riff. If John had to hold back
on his solos on the Europe album, he's really compensated it here. I'm
not saying he's over-playing, but where there's place for a nice lick,
he sure doesn't rob us of the moment.

In "Red Light Green High" he also shows a slightly
cooler side, which made me think of bassist Tomas Torberg's ordinary
band Plankton. Norum also sings really laid back and nice on this one,
something he also does in "Over And Done", which stylewise
made me think of some of Glenn Hughe's better solo albums. A singer
John has used on some of his earlier recordings is Leif Sundin, a sadly
rarely heard killer vocalist these days. Here he puts his vocal flair
on the classic hard rocker "Got My Eyes On You" and the CD's
heaviest and most modern sounding track "Born Again", the
only track with detuned guitars. It however doesn't stick out in a negative
way, but more completes a great collection of tracks.

The album ends with the title track that, as the title
may suggest, is a play yard for guitarist, an instrumental improvisation
number in the sign of blues with Europe colleague Mic Michaeli adding
some nice Hammond organ to the brew. I'd also like to give some praise
to John's tasty rhythm boys, the outstandingly groovy Tomas Broman on
drums and the aforementioned Plankton bassist Torberg, not forgetting
percussionist Peer Stappe. These guys really put the swagger in On-mode
in this killer retro-journey.

Hats off to a first-rate craft and an album that has found
its way nicely into my car stereo and will surely stay there for a long
time ahead.